Campos also falls madly in love with his assistant, Elisa (Norma Suarez), and while plotting to take over the world decides to steal her from her fiancé. Campos begins using Santo as a wrecking ball during dangerous operations that are helping him make his ultimate dream come true – total world dominance. Campos (Joaquin Cordero) and his associates kidnap Santo (El Santo) and inject him with a special serum that transforms him into a docile puppet. The Evil Brain the masked hero has a far more convincing presence. Infernal Men similar transitions lead to new footage that is quite random. This footage connects with unique new footage that looks logical, while in Santo vs. If I had to guess, I would say that much of the footage it shares with Santo vs. ![]() It tells a more coherent story, uses superior footage from Havana, and looks better edited. The Evil Brain is unquestionably the better film. Infernal Men while the two were being finalized. The Evil Brain, but I think that there were more people that worked on it and Santo vs. Jesús Echeverria is credited as the editor of Santo vs. Why? Because after Rodriguez and his crew returned to Mexico, the producers of the films obviously did the best they could with the material they had to recoup their investment. The two even share large chunks of identical material that was shot in Havana, which is a bit odd but not surprising. Infernal Men are compromised, incomplete versions of the films they were supposed to be. The Evil Brain, I can confirm that my initial suspicions about the work Joselito Rodriguez and his crew did in Havana were correct. Now that I have seen the second film in the Enter Santo: The First Adventures of the Silver-Masked Man box set, which is Santo vs. In Spanish, with optional English subtitles for the main feature. The supplemental features on the release include new program about the locations in Havana where the film was shot archival program with actor Joaquin Cordero new program with the Masked Critic and more. The Evil Brain" (1961) arrives on Blu-ray courtesy of Indicator/Powerhouse Films. Right now I think that’s the main thing that I need to achieve: to make people feel respect, not only for the films, but for the audience that enjoys these films too.Reviewed by Dr. When people say that these films aren’t worthy of conservation, that it doesn’t matter if they are passed on to future generations for whatever reason, you’re saying to millions of Mexicans that enjoy these films that their judgement is not good. I think the biggest challenge is that this is not only a non-profit and independent archive, but this is an archive that is dedicated to rescuing cinema that has been despised by critics or institutions. So I think in that sense, my biggest challenge is to make people understand that popular culture is important and that we need to stop the tremendous classism we have in Mexico. What has been the biggest challenge in operating an archive focused on saving popular films? I started this crazy project in 2015 when I realized that there was a need for an institution that will look after popular films with respect. ![]() How long have you been running Permanencia Voluntaria?
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